The fashion icon Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Than in the 90s.

A serendipitous meeting while riding the tube in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's vibrant 1990s creative scene, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"It was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

While Enninful may seem nostalgic, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. Yet over the last thirty years, Enninful believes a significant change. "I feel, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Perceived Regression

This change is difficult to overlook: the rise of nationalist groups, the reaction against progressive values, and the return of Eurocentric beauty standards. In place of the optimism of the previous decade, currently a more divisive political force looms as a possible leader. Furthermore, the Union Jack, once an symbol of national pride, has sparked debate once more.

In Enninful's view, the antidote has always been to champion culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of cultural icons from politics.

"Those in a position of influence should employ it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I believe this moment will pass."

The Younger Generation's Awareness

He draws solace in the younger generation: "They’re much more aware than we were. They analyse systemic issues – I didn't even know what that was."

The beginnings of his career would forge a groundbreaking career characterised by fearlessness and diversity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured landmark covers showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Importantly, sales rose.

"To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "disruptor".

"I’ve always questioned the status quo. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I was a minority. I was very shy. My teachers said I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective both an insider and outsider."

In contrast to the popular image of fashion editors as brash and temperamental, Enninful is calm and exudes calm. His journey has involved challenges, including well-documented periods of mental health and addiction.

He has also endured significant health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a time of fear for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to be defined narrowly has inspired him away from the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and give platform to those who did not receive due recognition at the time.

"Galleries sometimes neglected to celebrate the truly innovative creators because they lacked the expected background," he observes.

This project itself functions with a novel approach, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most influential creative power brokers. His story, he states, is a testament to the power of pursuing your passions.

What would the Edward of the 90s make of the his current self? He chuckles. "He’d be in shock, but he’d be proud. At that time I was anti-establishment. I never imagined institutions like Tate were within my reach."

He adds. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my whole career. But I am unstoppable once I’ve set my intention to do something."